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A 1S/3S pressing.
 
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Here's some seriously modern Wagner. Those who want their Parsifal to sound like an endless mass should look somehere else. But Janowski has a lifetime of following his way in this music: there is a sense of movement, but orchestral splendor. Most singers achieve a near-perfect balance of words and music (the only international star in the cast, Nikitin, being the exception for me).

The sound quality is superlative -- it's DSD multichannel for those equipped accordingly. It is a live recording in the Berlin Philharmonie, so the acoustics helps. I listen to it in PCM 24/96 and it makes me feel like Parsifal is too short. Like Kegel, it may be a great introduction to the work, emphasizing its richness and subtlety rather than it solemnity.
 

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By the way, arthurs, the Tokyo String Quartet's recordings of Beethoven's quartets are among my favorites, not the least because the recorded sound (on CD) is excellent. The perspective, soundstage, and resolution are excellent, IMO.

I have always enjoyed Endellion Quartet (heard them at Wigmore last year) and Beethoven's string works. Most interestingly, when i first bought the box set, i found the recording old and a bit 'wiry'...but as my system has become much more resolving, it has been able to dig out a remarkable amount more detail and suddenly those strings have much more of the same vibrancy that i feel with strings up close and personal including a depth and weight of sound which was missing earlier. It thus becomes one of many references i use now.
 
I have always enjoyed Endellion Quartet (heard them at Wigmore last year) and Beethoven's string works. Most interestingly, when i first bought the box set, i found the recording old and a bit 'wiry'...but as my system has become much more resolving, it has been able to dig out a remarkable amount more detail and suddenly those strings have much more of the same vibrancy that i feel with strings up close and personal including a depth and weight of sound which was missing earlier. It thus becomes one of many references i use now.

There's no doubt in my mind that one's recording sound different and -- usually -- better as the quality and resolution of one's system improves.

I listened to a Phase Linear 400 amp for more than 20 years; that was a far different experience, even with the same recordings, than listening to my Pass Labs X150.5 today.
 
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Here's some seriously modern Wagner. Those who want their Parsifal to sound like an endless mass should look somehere else. But Janowski has a lifetime of following his way in this music: there is a sense of movement, but orchestral splendor. Most singers achieve a near-perfect balance of words and music (the only international star in the cast, Nikitin, being the exception for me).

The sound quality is superlative -- it's DSD multichannel for those equipped accordingly. It is a live recording in the Berlin Philharmonie, so the acoustics helps. I listen to it in PCM 24/96 and it makes me feel like Parsifal is too short. Like Kegel, it may be a great introduction to the work, emphasizing its richness and subtlety rather than it solemnity.

Parsifal has always been the most difficult of Wagner's music dramas for me (and I think for most). My starting point was the Knappertsbusch Bayreuth 1951 mono version on London/Decca which I have on the original vinyl. Do you know that one and how the Janowski compares?

I remember the Janowski Ring from the early days of digital - I think it was on something like 18 or 19 CD's on Eurodisc - I have the CD's somewhere. I thought was better than most critics - the wonderful Jeannine Altmeyer was the Brunnhilde IIRC.

Larry
 
Hi Larry,

Agreed, they are both nice pieces. The Finlandia is a Classic Reissue while the Tchaikovsky is an original 13S pressing. Both were priced about $15 at my local record shop.
 
Allen,

Back in June in London I bought a used copy of the original release done in 1990. Thin vinyl, digital, it was 4GBP for a record in very nice condition. They did two more albums, IIRC. I think Pavarotti was unhappy with Decca at that point and the next two concerts were released by Sony or someone other than Decca. However, Christopher Raeburn continued to produce the records. He was a long time Decca producer and long time Pavarotti favorite. This recording, I think, was the best selling individual classical album of all time. It was staged in Rome (at the Baths of Caracalla) in recognition of the 1990 World Cup which was held in Italy. All of the three tenors are avid football (soccer) fans.

Larry
 
Allen,

Back in June in London I bought a used copy of the original release done in 1990. Thin vinyl, digital, it was 4GBP for a record in very nice condition. They did two more albums, IIRC. I think Pavarotti was unhappy with Decca at that point and the next two concerts were released by Sony or someone other than Decca. However, Christopher Raeburn continued to produce the records. He was a long time Decca producer and long time Pavarotti favorite. This recording, I think, was the best selling individual classical album of all time. It was staged in Rome (at the Baths of Caracalla) in recognition of the 1990 World Cup which was held in Italy. All of the three tenors are avid football (soccer) fans.

Larry

Larry, you are correct, this I believe still is the best selling classical LP of all time. Digitally recorded. Nice to get the original for 4GBP! Interesting anecdote on Pavarotti, I wonder why..

This is the first time playing. Never was into Opera, but given the 25th Anniversary Reissue, thought why not. Liked it more than I thought I would.:)
 
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A friend and I were talking about these LPs the other day so I just had to play them. The Decca is outstanding, but the RR is pretty good, too!:audiophile:
 
Parsifal has always been the most difficult of Wagner's music dramas for me (and I think for most). My starting point was the Knappertsbusch Bayreuth 1951 mono version on London/Decca which I have on the original vinyl. Do you know that one and how the Janowski compares?

I remember the Janowski Ring from the early days of digital - I think it was on something like 18 or 19 CD's on Eurodisc - I have the CD's somewhere. I thought was better than most critics - the wonderful Jeannine Altmeyer was the Brunnhilde IIRC.

Larry

Those are polar opposites. Knappertsbusch is the epitomy of the "mystic" approach to Parsifal, slow and solemn, and he does it very well. By contrast, Janowski's tempi are brisk, and there is no grandiloquence in his expression. While the Kna way is one of a long transe in which you may lose track of what's going on, Janowski feels like a lively reading of the score.Both because of the approach and the sound, Janowski lets you hear how rich and polyphonic the score is. It is actually the first Parsifal I find too short.

The sound on the 51 version is mediocre, but this Janowski may be one of the nicest recordings available. Both are live but Janowski is in concert, recorded at the Berlin Philharmonie. To fully enjoy Kna and the oversized voices of this time, I prefer the Philips "official" 1962 recording: great sound, awesome Hotter as Gurnemanz, lovely Jess Thomas as Parsifal (but the 51 has the burning Mödl as Brünnhilde), and the profound Kna inspiration.

For an even lighter and more dynamic approach (some would say a materialistic, atheistic one), Kegel is a great option. For luscious sound, and even slower approach than Kna (but more precise orchestral playing), I love Levine at the MET (or in Bayreuth).

The first Janowski ring is indeed full of lovely wonders such as Altmeyer and the Staatskapelle Dresden, but it fails to convince overall, ends up kinda boring. Your having left the CDs somewhere may be a case in point. Janowski matured a lot in those 30 years. I haven't heard his second Ring, but his new Tristan and Parsifal have become go-to versions for me.
 
Parsifal has always been the most difficult of Wagner's music dramas for me (and I think for most). My starting point was the Knappertsbusch Bayreuth 1951 mono version on London/Decca which I have on the original vinyl. Do you know that one and how the Janowski compares?

I remember the Janowski Ring from the early days of digital - I think it was on something like 18 or 19 CD's on Eurodisc - I have the CD's somewhere. I thought was better than most critics - the wonderful Jeannine Altmeyer was the Brunnhilde IIRC.

Larry

Those are polar opposites. Knappertsbusch is the epitomy of the "mystic" approach to Parsifal, slow and solemn, and he does it very well. By contrast, Janowski's tempi are brisk, and there is no grandiloquence in his expression. While the Kna way is one of a long transe in which you may lose track of what's going on, Janowski feels like a lively reading of the score.Both because of the approach and the sound, Janowski lets you hear how rich and polyphonic the score is. It is actually the first Parsifal I find too short.

The sound on the 51 version is mediocre, but this Janowski may be one of the nicest recordings available. Both are live but Janowski is in concert, recorded at the Berlin Philharmonie. To fully enjoy Kna and the oversized voices of this time, I prefer the Philips "official" 1962 recording: great sound, awesome Hotter as Gurnemanz (who sings the longest), lovely Jess Thomas as Parsifal (but the 51 has the burning Mödl as Brünnhilde), and the profound Kna inspiration.

For an even lighter and more dynamic approach (some would say a materialistic, atheistic one), Kegel is a great option. For luscious sound, and even slower approach than Kna (but more precise orchestral playing), I love Levine at the MET (or in Bayreuth).

The first Janowski ring is indeed full of lovely wonders such as Altmeyer and the Staatskapelle Dresden, but it fails to convince overall, ends up kinda boring. Your having left the CDs somewhere may be a case in point. Janowski matured a lot in those 30 years. I haven't heard his second Ring, but his new Tristan and Parsifal have become go-to versions for me.
 
Parsifal has always been the most difficult of Wagner's music dramas for me (and I think for most). My starting point was the Knappertsbusch Bayreuth 1951 mono version on London/Decca which I have on the original vinyl. Do you know that one and how the Janowski compares?

I remember the Janowski Ring from the early days of digital - I think it was on something like 18 or 19 CD's on Eurodisc - I have the CD's somewhere. I thought was better than most critics - the wonderful Jeannine Altmeyer was the Brunnhilde IIRC.

Larry

Those are polar opposites. Knappertsbusch is the epitomy of the "mystic" approach to Parsifal, slow and solemn, and he does it very well. By contrast, Janowski's tempi are brisk, and there is no grandiloquence in his expression. While the Kna way is one of a long transe in which you may lose track of what's going on, Janowski feels like a lively reading of the score.Both because of the approach and the sound, Janowski lets you hear how rich and polyphonic the score is. It is actually the first Parsifal I find too short.

The sound on the 51 version is mediocre, but this Janowski may be one of the nicest recordings available. Both are live but Janowski is in concert, recorded at the Berlin Philharmonie. To fully enjoy Kna and the oversized voices of this time, I prefer the Philips "official" 1962 recording: great sound, awesome Hotter as Gurnemanz (who sings the longest), lovely Jess Thomas as Parsifal (but the 51 has the burning Mödl as Kundry), and the profound Kna inspiration.

For an even lighter and more dynamic approach (some would say a materialistic, atheistic one), Kegel is a great option. For luscious sound, and even slower approach than Kna (but more precise orchestral playing), I love Levine at the MET (or in Bayreuth).

The first Janowski ring is indeed full of lovely wonders such as Altmeyer and the Staatskapelle Dresden, but it fails to convince overall, ends up kinda boring. Your having left the CDs somewhere may be a case in point. Janowski matured a lot in those 30 years. I haven't heard his second Ring, but his new Tristan and Parsifal have become go-to versions for me.
 
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